As a young kid, I grew up in Encino, California and had Billy Eckstine’s sons, Guy and Eddie, in my elementary and Jr. High schools. Guy and I played ball together at school and parks, and used to mention that his dad was a singer. Being a Beatles fan, I figured the guy was a “square” and didn’t give it a second thought. In retrospect, after becoming a jazz fan and journalist, I’d give anything to go back in time and get to know this trailblazing genius who was on the cutting edge of both modern orchestras as well as modern singing. Oh! Missed opportunities.
Initially starting his career as the vocalist for Earl Hines’ forward thinking orchestra, Eskstine created his own big band, essentially the first bebop big band, that included the likes of (deep breath) Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, Fats Navarro as well as vocalist Sarah Vaughan. Eckstine played a hip valve trombone as well, but it was as a singer that he was able to pay his bills, and even here he set a new standard.
Before “Mr. B” came along, most black vocalists either delivered raspy blues like Louis Armstrong or high pitched falsetto. Eckstine was the first one to be bold, black and beautiful with his voice, giving bel canto reads of ballads and swooning love tunes that was like a clarion call for upcoming vocalists. You can hear it in the careers of singers like Herb Jeffries, who went from high pitched gentility to macho-from the heart deliveries pre and post Eckstine.
This 3 disc set of 73 songs collects the A and B sides of his singles from MGM, RCA and Mercury Records. His style crossed between pop and R&B, with a visceral tone and in your face sensuality that caused ladies to swoon. His classic “I Apologize”” with Pete Rugulo’s orchestra was #6 on the Pop Charts and #4 on the R&B Charts for example. Likewise, his read of Duke Ellington’s “Caravan” was hit on both sides of the street. “Fools Rush In”, “Temptation” “My Foolish Heart” and “Body and Soul” mix pop framework with urban passion, while “If” (also with Rugulo) is noir vulnerability.
Eckstine is also teamed with a few guests, and all work well. He joins with Woody Herman for a hilarious “I Left My Hat In Haiti” and is buoyant with George Shearing during “Taking A Chance On Love”. A reunion with Sarah Vaughan creates sparkles on “I Love You.” He responds to the changing times with some impressive reads of soundtracks as on “Gigi” and “Vertigo” and sounds upt to date on a “Guilty” produced by a pre-Thriller and Sinatra’d Quincy Jones. A new standard was set with this career, with Eckstine being the John Muir of black vocalists, discovering new and uncharted lands.